The Charles A. Dana Arts Center is a Rudolph masterwork of the mid-1960’s. — *The* ***Charles A. Dana Arts Center*** *is a Rudolph masterwork of the mid-1960’s.*

PAUL RUDOLPH: A CAREER THAT DEFIES CATEGORIZATION

The Paul Rudolph Project Atlas—an ongoing project of the Paul Rudolph Heritage Foundation—is an example of applying several layers of analysis to Rudolph’s work (by geographical region, by building type, and chronologically.) You can explore the Project Atlas here. — *The* ***Paul Rudolph Project Atlas***—an ongoing project of the Paul Rudolph Heritage Foundation—is an example of applying several layers of analysis to Rudolph’s work (by geographical region, by building type, and chronologically.) You can explore the Project Atlas ***here***.

Rudolph’s career has been analyzed and classified in numerous ways:

by decade
by style
by region
by climate
by building type
by physical context
by scale
by type of client
by recurrent forms
by historic context
by amount and type of innovation
by materials and/or construction methods
by discipline (planning, lighting, siting, inclusion of art, energy efficiency…)
by what issues Rudolph thought he was investigating (during different eras)

While each of these are illuminating pathways into Rudolph’s work, none of these schemas can ever be ultimate and final—and that’s because Paul Rudolph was too creative to ever fully pin-down. Even though his career is receiving increasing attention from historians and critics, he still remains resistant to categorization (or even characterization!) Der Scutt - an architect who studied with and worked for Rudolph - encapsulated the issue when he wrote:

“One can copy Mies, emulate some Le Corbusier, and replicate some Wright ideas, but no one can copy pure Rudolph!”

rUDOLPH: PRIME YEARS aND PRIME PROJECTS — A CONTEXT FOR COLGATE’S DANA ARTS CENTER

Acknowledging the above, even so we still try to arrive at useful distinctions about Paul Rudolph’s half-century career and well over 300 commissions. Rudolph created amazing designs in all phases of his work—from his beginnings in the 1940’s, to the very end in 1997—but the part of Rudolph’s work that is highlighted in most history books were designed during a period from the late 1950’s through the 1960’s. That’s the era in which some of his most famous buildings were designed and built—e.g.: the Yale Art & Architecture Building, the Temple Street Garage, the Milam Residence, the Tuskegee Chapel, Endo Labs, and the Burroughs Wellcome Headquarters—to name just a few, from his most creative period.

It is in this context—this concentration of creativity that few designers achieve - that the 1963 Charles A. Dana Fine Arts Center came to be. To explore this, it’s worth looking at two of Paul Rudolph’s drawings for the project.

The overall form of the building is already well-developed in the perspective rendering below—probably the version that was shown to the client. One can see resemblances with other works Rudolph designed during this period: the bold, expressive use of concrete; the rhythmic placement of vertical elements; a dramatic use of cantilevers; the articulation of various functions, which are communicated on the exterior; the careful handling of light, sun, and views, through the shaping and location of openings; and the the Mondrian-esque aesthetic.

Paul Rudolph’s early perspective rendering of the arts center building [the medium appears to be colored pencil on a diazo “whiteprint”]—possibly done as a presentation drawing for the client and/or other stakeholders. While there would be changes made (between what’s shown in this drawing and the final design) this shows that the overall form and organization of the building has been well established. — *Paul Rudolph’s early perspective rendering of the arts center building [the medium appears to be colored pencil on a* *diazo* “whiteprint”]—possibly done as a presentation drawing for the client and/or other stakeholders. While there would be changes made (between what’s shown in this drawing and the final design) this shows that the overall form and organization of the building has been well established.

The final version—shown in Rudolph’s later (and well-published) perspective drawing below, and in the photo at the top of this article—maintains all of those values, but the building is further refined so that all the parts work in a more disciplined way within the geometric frame. Also, Rudolph shows that he is incorporating textured concrete block—a material he developed as an economical alternative to all poured-in-place concrete construction. In the drawing, areas of block are shown as planar infill within the concrete frame.

Paul Rudolph’s perspective rendering drawing of the Charles A. Dana Arts Center—the version most frequently published, and the one that Rudolph included in his own monograph of his drawings. One can see (when comparing this drawing to the photo at the top of this article), this final drawing closely matches the as-built facility.

The plans and sections are also intriguing: they show Rudolph simultaneously able to handle a complex program in a practical way, and yet introduce interesting spatial experiences throughout the building - even for common functions.

AN OUTLINE OF THE DANA ARTS CENTER’S HISTORY

INITIAL PLANNING

In 1962, Charles A. Dana (1881-1975), a successful industrialist and philanthropist, visited the campus of Colgate University, the prominent liberal college located at the geographic center of New York State. After observing that art classes and studios were in less-than-optimal spaces (like the basements of class buildings), he saw the need for a facility that would provide the appropriate locations and the right atmosphere for the creative arts at the university.
Through the offices of his Dana Foundation, he challenged the college to find matching funds to supplement an initial grant of $400,000—and the challenge was taken-up by a group of volunteers and contributors to raise the necessary funds for such a building project.
A university committee was formed to work on a “creative arts center”—it would be the first building on campus designated for that explicit purpose. The committee was composed of representatives from various departments, and was chaired by Dr. Herman Brautigam—and had a project budget of $1,200,000. They formulated a program for the building, and had “three or four” architects in mind—and a member of the Board of Trustees, suggested Paul Rudolph after being impressed with Rudolph’s Mary Jewett Arts Center at Wellesley College and the chapel at Tuskegee Institute. Although not all of the other committee members agreed, but Rudolph was finally chosen to receive the commission.
Rudolph came to Colgate and found “one of the most handsome campuses in the country.” He engaged in preliminary discussions and left with a detailed list of the building’s needs and a projected budget. He later returned to walk the campus and study its existing architecture which reflected almost 150 years of growth and redevelopment at the university. With a site in mind, Rudolph returned to his office—probably the one located in New Haven, as Rudolph (in addition to his architectural practice) was also Chair of Yale’s school of architecture. There, he sketched a building that would fit into the terrain, relate to the existing campus, fit the flow of student traffic, and house the creative arts.

Rudolph’s model of his design for Colgate. The proposed building is shown at the bottom center. It is also meant to act as a visual gateway to the campus—and a key pathway flows below its “porte-cochere.” Just behind the building is a depressed area in the terrain—the ravine (for which a footbridge was proposed.) At the top of the photo is the steeple of the campus chapel.

PAUL RUDOLPH’S DESIGN

Rudolph’s plan meets both practical and aesthetic requirements of the project. The building Rudolph designed is striking and original, yet compliments the existing campus architecture. The roof repeats the contours of other rooftops on the hill, the location of the building effectively extends the lines of the existing college quadrangle, and the texture as well as the color of the new building represents a modern interpretation of older university buildings’ stone (which had become too expensive.) It was close-enough to the existing classrooms and the library to be easily accessible—but separate-enough to be distinctive.
Rudolph stated that he “was given a free a hand as possible.” “They were really quite wonderful,” he said, “but of course there were budgetary and other restraints.”
The choice of the project site, according to Dr. Brautigam, “was left pretty much up to Rudolph himself.” According to Rudolph: “the site was very significant for the whole structure,” adding, “It is intended to be both a symbolic gate to the campus and to effect a connection between the upper and lower parts of the campus.” “I don’t believe in inspiration,” he said, “but I felt it was a remarkable site.” and, “the older buildings on campus were my point of departure, and my building was intended to reflect the silhouettes of the earlier buildings.”
The roof of the building adjoins a hill providing access to the first and fourth floors, and is designed so it can be used as a gallery for sculpture and art shows
The roof design also features several dormers to provide natural light for art studios and classrooms and to blend with the lines of the Student Union building situated to the immediate right of the building.
According to Rudolph, the original plan was “for a staged building project with the possibility of two or three, or as many as five stages.” The first phase proposed to be built was the main stage, and the other further additions are postponed due to budgetary limitations. [According to Dr. Brautigam, Rudolph had some very specific ideas for a second stage which never materialized.]

Rudolph’s Site Plan for the Dana Arts Center: the proposed building is in the center, and on can see a pathway bending to flow through it. A new campus library is at the lower-left; the chapel is near the top, at he left edge of the drawing; and a residence hall is above the arts center. Part of Rudolph’s design was a proposed footbridge, whose purpose was to cross the ravine on the left side of the building (it is shown as a dark zig-zag diagonal line, to the center’s left.) The bridge displeased the center’s prime benefactor, and was deleted. — *Rudolph’s* ***Site Plan for the Dana Arts Center:*** the proposed building is in the center, and on can see a pathway bending to flow through it. A new campus library is at the lower-left; the chapel is near the top, at he left edge of the drawing; and a residence hall is above the arts center. Part of Rudolph’s design was a proposed footbridge, whose purpose was to cross the ravine on the left side of the building (it is shown as a dark zig-zag diagonal line, to the center’s left.) The bridge displeased the center’s prime benefactor, and was deleted.

PRESENTATION AND RECEPTION

In April, 1964, the design was presented to Dana and architectural critics at the University Club. According to a New York Times article about the event, everyone expressed admiration for the plans—except Mr. Dana. He suggested that the principal architectural feature of the building—the prominent three-story “port-cochere”—be deleted, and that the site be changed. Rudolph told Dana that the design change would ruin the building, and explained that the port-cochere shelters the building’s entrance and bears an extension of the fourth floor in which a painting and sculpture studio will be located—and added that it will have the additional value as a gateway to the old Colgate quadrangle of traditional buildings, seen up a hillside, with the spire of the chapel in the center. Mr. Dana, after Rudolph finished, asked him, “You are one of the drawers of this building?” He then asked about the proposed footbridge behind the building (which connects the back of the building with the old quadrangle at the top of the hill.) “Why have that bridge? Walking is good for students.” Rudolph acknowledges that the bridge is an optional addition that could be removed from the design. [Note: it was not built.] Mr. Dana told everyone he approves the various features but asks to hear more about the port-cochere. He finished by advising, “You can save money on these extremities.” University officials explain there were reasons to not change the site but agree to examine Mr. Dana’s suggestion.
The building was occupied in January, 1966.
On September 08, 1966 Rudolph delivered the speech ‘Urban Design’ at Colgate’s annual Founders Day Convocation about urban planning and the basic elements that need to be expressed in urban design. After the address, members of the administration awarded Rudolph an Honorary Doctor of Fine Arts Degree.

EXPANSION OR ADDITION

In 1972, Brooks Stoddard, Chairman of the Fine Arts Department, decided to review the original proposal to build Phase 2 of the Dana Arts Center project, due to feeling the pressure of limited space in the original building. After looking at the possibility to re-use and rehabilitate another building on campus, a decision was made to construct a new but inexpensive building to provide studio space next to the original Rudolph building. “It was our feeling,” said Stoddard, “that the Rudolph building itself was such a strong structure that it could withstand the presence of another structure nearby, even though it would be nice to keep it isolated. I think the academic realities are that students are coming here, they need space to work in, and it makes sense to have them working in an area with some proximity to the other arts.”
Two architects were considered for the new studio building, and a local Utica firm was given the contract. Although a simple loft building, there was an attempt to maintain a style similar to that of the original Rudolph building—the use of split-face concrete block is one example of this effort. “The judgement of history will show how that studio building relates to Dana,” said Mr. Stoddard. “I rather think it does.”

THE FUTURE?

2018: Dean Lesleigh Cushing announced that the university planned to renovate the Dana Arts Center, with the aim of increasing the visibility of the arts in Colgate’s curriculum. The plan then contemplated was to construct multiple new structures in the area around Rudolph’s building, in order to alleviate the need for additional space (as the result of the expansion of the university’s arts program.)

2021: The Paul Rudolph Heritage Foundation learns of a new initiative at the Dana Arts Center (changes? alterations? expansions?)

We look forward to finding more about what’s intended for the Charles A. Dana Fine Arts Center.

MAINTAINING RUDOLPH’S LEGACY

The Paul Rudolph Heritage Foundation advocates for the preservation and proper maintenance of buildings designed by Rudolph. As stewards of the largest body of knowledge about the work of Paul Rudolph, the foundation makes itself available to consult with the owners of buildings and interiors designed by Rudolph, as well as conferring with the designers and builders engaged by those owners.

In a way that many would see as a beautiful enhancement-through-time, Nature has asserted itself: partially covering the building in a garment of green. In this photo, one can also discern Rudolph’s use of a mixture of materials at this project: a concrete frame which is infilled with textured (split-rib) concrete blocks—a cost-saving material which he developed.

IMAGE CREDITS

NOTES:

The Paul Rudolph Heritage Foundation gratefully thanks all the individuals and organizations whose images are used in this non-profit scholarly and educational project.

The credits are shown when known to us, and are to the best of our knowledge, but the origin and connected rights of many images (especially vintage photos and other vintage materials) are often difficult determine. In all cases the materials are used in-good faith, and in fair use, in our non-profit scholarly and educational efforts. If any use, credits, or rights need to be amended or changed, please let us know.

When/If Wikimedia Commons links are provided, they are linked to the information page for that particular image. Information about the rights for the use of each of those images, as well as technical information on the images, can be found on those individual pages.

CREDITS, FROM TOP-TO-BOTTOM, AND LEFT-TO-RIGHT:

Exterior View of Dana Arts Center: color postcard by Bob Wyer Photo Cards, © Bob Wyer, from the archives of the Paul Rudolph Heritage Foundation; Paul Rudolph Project Atlas: screen grab from the Project Atlas page on the website of the Paul Rudolph Heritage Foundation; Yale Art & Architecture Building: photo by Sage Ross, via Wikimedia Commons; Temple Street Parking Garage: photo from the New Haven Redevelopment collection, New Haven Museum; Milam residence: photo by Joseph W. Molitor. Image courtesy of the Joseph W. Molitor architectural photograph collection, Columbia University, Avery Architectural and Fine Arts Library, Department of Drawings and Archives; Tuskegee University Chapel: © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Endo Laboratories: © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Burroughs Wellcome Headquarters: photo by G. E. Kidder Smith, image courtesy of the Massachusetts Institute of Technology; Color perspective drawing of Dana Arts Center: rendering by Paul Rudolph, © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Black & White perspective drawing of Dana Arts center: rendering by Paul Rudolph, © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Model of proposed Dana Arts Center, photo by Daryl Jackson, © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Site plan of proposed Dana Arts Center, © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Exterior of Dana Arts Center, partially covered by plant growth: photographer unknown